Xuekun Jiang

Anyi Rao, Xuekun Jiang, Sichen Wang et al.

The ability to choose an appropriate camera view among multiple cameras plays a vital role in TV shows delivery. But it is hard to figure out the statistical pattern and apply intelligent processing due to the lack of high-quality training data. To solve this issue, we first collect a novel benchmark on this setting with four diverse scenarios including concerts, sports games, gala shows, and contests, where each scenario contains 6 synchronized tracks recorded by different cameras. It contains 88-hour raw videos that contribute to the 14-hour edited videos. Based on this benchmark, we further propose a new approach temporal and contextual transformer that utilizes clues from historical shots and other views to make shot transition decisions and predict which view to be used. Extensive experiments show that our method outperforms existing methods on the proposed multi-camera editing benchmark.

Anyi Rao, Xuekun Jiang, Yuwei Guo et al.

Amateurs working on mini-films and short-form videos usually spend lots of time and effort on the multi-round complicated process of setting and adjusting scenes, plots, and cameras to deliver satisfying video shots. We present Virtual Dynamic Storyboard (VDS) to allow users storyboarding shots in virtual environments, where the filming staff can easily test the settings of shots before the actual filming. VDS runs on a "propose-simulate-discriminate" mode: Given a formatted story script and a camera script as input, it generates several character animation and camera movement proposals following predefined story and cinematic rules to allow an off-the-shelf simulation engine to render videos. To pick up the top-quality dynamic storyboard from the candidates, we equip it with a shot ranking discriminator based on shot quality criteria learned from professional manual-created data. VDS is comprehensively validated via extensive experiments and user studies, demonstrating its efficiency, effectiveness, and great potential in assisting amateur video production.

Yi Shi, Jingbo Wang, Xuekun Jiang et al.

Real-time character control is an essential component for interactive experiences, with a broad range of applications, including physics simulations, video games, and virtual reality. The success of diffusion models for image synthesis has led to the use of these models for motion synthesis. However, the majority of these motion diffusion models are primarily designed for offline applications, where space-time models are used to synthesize an entire sequence of frames simultaneously with a pre-specified length. To enable real-time motion synthesis with diffusion model that allows time-varying controls, we propose A-MDM (Auto-regressive Motion Diffusion Model). Our conditional diffusion model takes an initial pose as input, and auto-regressively generates successive motion frames conditioned on the previous frame. Despite its streamlined network architecture, which uses simple MLPs, our framework is capable of generating diverse, long-horizon, and high-fidelity motion sequences. Furthermore, we introduce a suite of techniques for incorporating interactive controls into A-MDM, such as task-oriented sampling, in-painting, and hierarchical reinforcement learning. These techniques enable a pre-trained A-MDM to be efficiently adapted for a variety of new downstream tasks. We conduct a comprehensive suite of experiments to demonstrate the effectiveness of A-MDM, and compare its performance against state-of-the-art auto-regressive methods.

Xuekun Jiang, Anyi Rao, Jingbo Wang et al.

In the evolving landscape of digital media and video production, the precise manipulation and reproduction of visual elements like camera movements and character actions are highly desired. Existing SLAM methods face limitations in dynamic scenes and human pose estimation often focuses on 2D projections, neglecting 3D statuses. To address these issues, we first introduce a reverse filming behavior estimation technique. It optimizes camera trajectories by leveraging NeRF as a differentiable renderer and refining SMPL tracks. We then introduce a cinematic transfer pipeline that is able to transfer various shot types to a new 2D video or a 3D virtual environment. The incorporation of 3D engine workflow enables superior rendering and control abilities, which also achieves a higher rating in the user study.

Yiran Chen, Anyi Rao, Xuekun Jiang et al.

With advancements in video generative AI models (e.g., SORA), creators are increasingly using these techniques to enhance video previsualization. However, they face challenges with incomplete and mismatched AI workflows. Existing methods mainly rely on text descriptions and struggle with camera placement, a key component of previsualization. To address these issues, we introduce CinePreGen, a visual previsualization system enhanced with engine-powered diffusion. It features a novel camera and storyboard interface that offers dynamic control, from global to local camera adjustments. This is combined with a user-friendly AI rendering workflow, which aims to achieve consistent results through multi-masked IP-Adapter and engine simulation guidelines. In our comprehensive evaluation study, we demonstrate that our system reduces development viscosity (i.e., the complexity and challenges in the development process), meets users' needs for extensive control and iteration in the design process, and outperforms other AI video production workflows in cinematic camera movement, as shown by our experiments and a within-subjects user study. With its intuitive camera controls and realistic rendering of camera motion, CinePreGen shows great potential for improving video production for both individual creators and industry professionals.

Yunsong Zhou, Hangxu Liu, Xuekun Jiang et al.

Robotic manipulation with deformable objects represents a data-intensive regime in embodied learning, where shape, contact, and topology co-evolve in ways that far exceed the variability of rigids. Although simulation promises relief from the cost of real-world data acquisition, prevailing sim-to-real pipelines remain rooted in rigid-body abstractions, producing mismatched geometry, fragile soft dynamics, and motion primitives poorly suited for cloth interaction. We posit that simulation fails not for being synthetic, but for being ungrounded. To address this, we introduce SIM1, a physics-aligned real-to-sim-to-real data engine that grounds simulation in the physical world. Given limited demonstrations, the system digitizes scenes into metric-consistent twins, calibrates deformable dynamics through elastic modeling, and expands behaviors via diffusion-based trajectory generation with quality filtering. This pipeline transforms sparse observations into scaled synthetic supervision with near-demonstration fidelity. Experiments show that policies trained on purely synthetic data achieve parity with real-data baselines at a 1:15 equivalence ratio, while delivering 90% zero-shot success and 50% generalization gains in real-world deployment. These results validate physics-aligned simulation as scalable supervision for deformable manipulation and a practical pathway for data-efficient policy learning.

Anyi Rao, Jiaze Wang, Linning Xu et al.

Shots are key narrative elements of various videos, e.g. movies, TV series, and user-generated videos that are thriving over the Internet. The types of shots greatly influence how the underlying ideas, emotions, and messages are expressed. The technique to analyze shot types is important to the understanding of videos, which has seen increasing demand in real-world applications in this era. Classifying shot type is challenging due to the additional information required beyond the video content, such as the spatial composition of a frame and camera movement. To address these issues, we propose a learning framework Subject Guidance Network (SGNet) for shot type recognition. SGNet separates the subject and background of a shot into two streams, serving as separate guidance maps for scale and movement type classification respectively. To facilitate shot type analysis and model evaluations, we build a large-scale dataset MovieShots, which contains 46K shots from 7K movie trailers with annotations of their scale and movement types. Experiments show that our framework is able to recognize these two attributes of shot accurately, outperforming all the previous methods.